AI Insight
This study of 298 piano students in China found that stage anxiety negatively affects piano performance through two psychological mechanisms: reduced self-efficacy and impaired attentional control. The researchers demonstrated that these factors work both independently and sequentially, with stage anxiety first lowering self-efficacy, which then reduces attentional control, ultimately degrading performance quality. The total indirect effect of these psychological pathways accounted for a substantial portion of anxiety's impact on performance outcomes.
Why it matters
The findings suggest that performance anxiety interventions for musicians should target both confidence-building and attention training rather than anxiety reduction alone. This cognitive-affective framework could inform development of more effective preparation strategies for performing artists and others who work under high-pressure conditions.
Understand the Science
PurposeThis study examined the relationships among stage anxiety, self-efficacy, attentional control, and piano performance from a cognitive-affective integration perspective. Specifically, it investigated whether self-efficacy and attentional control mediated the association between stage anxiety and piano performance, both independently and sequentially.MethodsA sample of 298 piano majors from a comprehensive university and a music conservatory in Yunnan Province, China, completed standardized measures of music performance anxiety, self-efficacy, and attentional control. Piano performance was evaluated through expert ratings. Descriptive statistics, correlation analysis, hierarchical regression analysis, and bootstrap mediation analyses were conducted to examine the proposed relationships.ResultsStage anxiety was negatively associated with piano performance (β = −0.264, p < 0.001), self-efficacy (β = −0.479, p < 0.001), and attentional control (β = −0.222, p < 0.001). In contrast, self-efficacy was positively associated with attentional control (β = 0.402, p < 0.001) and piano performance (β = 0.269, p < 0.001). Mediation analyses revealed that self-efficacy (indirect effect = −0.129, 95% CI [−0.193, −0.071]) and attentional control (indirect effect = −0.048, 95% CI [−0.087, −0.018]) significantly mediated the relationship between stage anxiety and performance. Furthermore, a sequential mediation pathway through self-efficacy and attentional control was also significant (indirect effect = −0.042, 95% CI [−0.069, −0.020]). The total indirect effect was significant (effect = −0.219, 95% CI [−0.293, −0.152]). Neither the gender × stage anxiety interaction (β = −0.001, p = 0.976) nor the prior performance experience × self-efficacy interaction (β = −0.039, p = 0.401) was significant.ConclusionThese findings support a cognitive-affective integration framework by demonstrating that self-efficacy and attentional control serve as important psychological mechanisms linking stage anxiety to piano performance. The results extend social cognitive theory and attentional control theory to music performance contexts.ImplicationsThe findings suggest that interventions aimed at enhancing musicians’ self-efficacy and strengthening attentional control may help improve performance outcomes under pressure. Limitations and directions for future research are also discussed.